The New Yorker

Of his latest ventures, though, it is “Killers of the Flower Moon” that best captures the interstices between silence and splendor, complicity and culpability. It’s as much a grand meditative set piece on the terrors of the American settler project as it is a self-reflexive castigation of one’s own filmography, of the inadequacy and immateriality of narratives themselves.

One Book One BART — BART’s book club — held a virtual book talk with Pulitzer Prize-winning author and UC Berkeley alumnus Hua Hsu on Wednesday to discuss his memoir “Stay True.”

The rebellious spirit of the 60s has carried into the modern day, and though it can’t enact much change on its own, it does provide some much-needed hope, as well as a rough blueprint for those hoping to enact change. 

A harrowing piece of cinema, “Tár” is striking, for better or worse, for its concurrent instinct to confront and epitomize the ethos of prestige and transgression.

However romanticized or deemed overrated, NYC is a place much entangled with my childhood. It makes me perfectly nostalgic all the while making me want something more (reference, anyone?). So, here’s my guide on how to transport yourself to New York City all in the comfort of your bedroom, or at least, whichever city you find yourself being. 

Fractals of sticky-sweet Americana fade in and out of Chloë and the Next 20th Century, the fifth LP from Josh Tillman, performing as Father John Misty.

It is the most comforting movie in some time, a dose of a homey direction in which everything is laid out for viewers.

Subconsciously, I think about things to avoid feeling things. In the heat of the moment, however, sex makes it hard to think. And even if thoughtless sex can sometimes be risky, I love escaping my head.